Creature Companion (2018)
장르 : 드라마
상영시간 : 31분
연출 : Melika Bass
시놉시스
In the American suburbs, two women mysteriously and sensuously entwine in this slow-burning, saucy, abstracted fable on the longing and laboring female body.
여자아이는 밥 잘하고 시집 잘 가면 그만이라는 어른들. 그 틈에서 자란 열한 살 소녀가 강렬한 댄스의 세계에 눈을 뜬다. 벗어날 수 없는 현실의 탈출구가 되어 준 무대. 지금부터 답답한 세상을 향한 소녀의 뜨거운 반항이 시작된다.
새학기를 맞는 희망으로 부푼 가을 캠퍼스. 자유로운 캘리포니아를 떠나 뉴잉글랜드의 명문 웰슬리에 새로운 미술사 교수로 오게 된 캐서린 왓슨(줄리아 로버츠) 역시 기대감에 들떠있지만, 보수적인 분위기에 젖어있는 학생들은 캐서린의 자유분방한 사고방식을 반길 마음은 털끝만큼도 없다. 미모와는 달리 냉정하기 짝이 없는 베티(커스틴 던스트), 똑똑함에서 둘째 가라면 서러울 조안(줄리아 스타일스), 프리섹스 물결에 빠진 지젤(매기 질렌홀), 자신이 연주하는 첼로의 아름다운 선율과는 달리 연애에는 쑥맥인 콘스탄스 역시 마찬가지. 하지만 결혼만이 여자 인생의 최고목표가 아니라는 캐서린의 자유롭고 진취적인 주장은 정물화 같던 그녀들에게 차츰 추상화의 생동감을 깃들게 하는데...
에디는 '준'이라 불리는 게이바에서 가장 잘 나가는 호스트이다. 그는 마약을 거래하는 바의 주인인 곤다와 내연의 관계에 있었다. 곤다는 바의 매니저인 레다와 동거하는데 레다는 곤다가 에디와 관계를 맺는 것을 알고 격렬한 질투심에 사로잡힌다. 에디는 레다가 질투하는 것을 알고는 엄청나게 놀란다. 그것은 에디에게 무시무시한 그의 과거 기억을 떠올리게 했기 때문인데...
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Examines how a US value system built on the extreme masculine ideals of money, power and control has glorified individualism, institutionalized inequality, and undermined the ability of most Americans to achieve the American Dream.
In which Scheherazade tells of how desolation invaded men : “It hath reached me, O auspicious King, that a Judge will cry instead of giving out her sentence. A runaway murderer will wander through the land for over forty days and will teletransport himself to escape the Guard while dreaming of prostitutes and partridges. A wounded cow will reminisce about a thousand-year-old olive tree while saying what she must say, which will sound none less than sad ! The residents of a tower block in the suburbs will save parrots and piss inside lifts while surrounded by dead people and ghosts; including in fact a dog that…”. And seeing the morning break, Scheherazade fell silent.
Arguing that advertising not only sells things, but also ideas about the world, media scholar Sut Jhally offers a blistering analysis of commercial culture's inability to let go of reactionary gender representations. Jhally's starting point is the breakthrough work of the late sociologist Erving Goffman, whose 1959 book The Presentation of the Self in Everyday Life prefigured the growing field of performance studies. Jhally applies Goffman's analysis of the body in print advertising to hundreds of print ads today, uncovering an astonishing pattern of regressive and destructive gender codes. By looking beyond advertising as a medium that simply sells products, and beyond analyses of gender that tend to focus on either biology or objectification, The Codes of Gender offers important insights into the social construction of masculinity and femininity, the relationship between gender and power, and the everyday performance of cultural norms.
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An actress struggles to control her emotions during an audition for a TV commercial.
Watch here: vimeo.com/429096682
한 방송국에서 질문을 던진다. “여자로 사는 느낌은 어떤가요?“ 이 ‘영화-전단’은 여자의 몸(우리 몸)에 관련된 가능한 대답이다. 여성스러운 조건에 대한 여자의 대답. 물체로서의 우리의 몸, 금기로서의 우리의 몸, 아이들이 있거나 없는 우리의 몸, 우리의 성 등등. 우리는 어떻게 우리의 몸을 살고 있나? 우리는 어떻게 우리의 성을 살고 있나?
Daisy is the love of Ken's life - she is also large... and very pretty... and on the dole. But Ken is a dreamer, all his dreams to make a fast buck ending up where they started - as dreams. With the rent unpaid, the bailiffs at the door and Ken's dreams in tatters, Daisy sets out to bring home the bacon and gets a job in the local factory. There she meets Marlene and half a dozen other large women who are all united in a secret passion - Sumo wrestling! Ken doesn't know what's hit him.
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유전자 개량으로 탄생한 인간형 고양이 '네코'의 존재가 일상이 되어버린 세계에서 네코들과 솔레이유를 운영하는 평범한 청년 주인공의 험난한 하루가 시작된다.
Constance is a bored, movie-loving schoolteacher in post-WW2 New Zealand who begins to fantasize that she's a Hollywood star - with tragic consequences.
